If the details of Castelvetro’s theory do not always correspond in excellence to the sense and novelty of the general view, this is because he adulterates his notion of stage requirements with that unlucky “verisimilitude” misunderstood, which is the curse of all the neo-classic critics, and which comes from neglect of the Aristotelian preference of the probable-impossible to the improbable-possible. [Sidenote: _On the Three Unities._] The huge Mysteries of the Middle Ages, which ranged from Heaven to Hell, which took weeks to act, and covered millennia in their action, did at least this good to the English and some other theatres—that they familiarised the mind with the neglect of this verisimilitude. But Castelvetro would have none of such neglect. His play must be adjusted, not merely in Action, but in Space and Time, as nearly as possible to the actual capacity of the stage, the actual duration of the performance.[111] And so the Fatal Three, the Weird Sisters of dramatic criticism, the vampires that sucked the blood out of nearly all European tragedy, save in England and Spain, for three centuries, make their appearance. They “enter the critical literature of Europe,” as Mr Spingarn has very truly laid it down,[112] “from the time of Castelvetro.” But to balance this enslaving of the Drama (in which he far exceeds Aristotle), Castelvetro frees the Epic from Aristotelian restrictions in an almost equally important manner. [Sidenote: _On the freedom of Epic._] From his references in the _Opere Varie_ to Cinthio and Pigna, it would appear that he claimed, if not priority, an even portion with them in the consideration of the subject of Epic Poetry. And though not agreeing with them altogether, he certainly agrees with them in enlarging the domains of the Epic. Poetry, he says in effect,[113] may do anything that History can do; and, like the latter, it may deal, not only with one action of one man, but with his life-actions, or with many actions of many men. ----- Footnote 111: In fact, he subordinates the first to the other two. _They_ make it necessary. In order to appreciate his views, it is necessary to read the commentary on all the Aristotelian places concerned, and also on that touching Epic. Footnote 112: P. 101. Footnote 113: _Poet. d’Arist._, p. 278. -----